Archive for March 1st, 2013

Optical Devices Division of FUJIFILM Showing New Range of Lenses and Upgrades at NAB 2013

Wayne, N.J. – FUJIFILM North America Corporation, Optical Devices Division will show a variety of new lenses and upgrades at this year’s NAB at the Las Vegas Convention Center. On display within Booth C7525 will be FUJINON lenses for broadcasting, sports, digital cinematography and production applications, including an enhanced version of the Emmy-Award winning “Precision Focus Assist” technology and the latest in PL Mount, EFP, Studio, and ENG lenses.

Two high-performance lenses, the Premier PL 85-300 Cabrio lens (model ZK3.5×85) and the XA99x8.4 UltraWide field production lens, will make their NAB debut this year. While the PL 85-300 is similar in size and weight as the PL 19-90mm Cabrio (Model ZK4.7×19), its longer focal length makes it ideal for shooting documentaries, nature and wildlife, and commercials. The PL 85-300 offers a focal length of 85-220mm at T2.9 and 300mm at T4.0, with 200-degree focus rotation.

Designed using the latest optical simulation technology, the PL 85-300 Cabrio not only offers exceptional optical performance in the center of the image but in the corners of the frame as well. Like the highly acclaimed PL 19-90 Cabrio, the PL 85-300 is equipped with the same indispensable features including flange focal distance adjustment, a MOD of 1.2m, a macro function for objects as close as 97mm (3.8-inches), and covers a 31.5mm diagonal sensor size.

The digital servo’s 16-bit encoding assures operators that all lens data output—such as the position of the zoom, iris, and focus—is extremely accurate and the lens supports Lens Data System (LDS) and /i metadata formats. Like the PL 19-90, the new PL 85-300 Cabrio features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-style lens. And the PL 85-300 can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units.

The entire range of Premier PL 4K+ cine lenses will be in the booth. The 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400 mm T2.8-T3.8 will all be on display.

The new XA99x UltraWide lens is ideal for producing live sports and entertainment events. An XA99xPF will also be on display with an enhanced version of Precision Focus Assist (PF), marking the first time this model has incorporated PF technology. Precision Focus Assist automatically adjusts focus, ensuring fast and accurate focus of HD images under varying conditions. The XA99x UltraWide offers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. The XA99x is f1.7 to 341mm and f4.2 at 832mm. Like other lenses in this product line, including the XA77x9.5, XA88x8.8, XA88x12.5 and the XA101x8.9, the XA99x8.4 offers FUJINON’s DIGI POWER digital controls, offering high accuracy, flexibility and a host of production features.

The XA99x8.4 features a newly developed, patented image stabilization technology for rock-steady performance, which is critical for long-distance HD shots. High-resolution 16-bit encoders are standard, making it suitable for virtual, robotic, and digital signage, among other applications. FUJINON’s exclusive GO-TECHnology improves image resolution and reduces chromatic aberrations at all focal lengths.

An addition to the 1/3-inch eXceed line is a new version of FUJINON’s 1/3-inch XT17sx4.5 lens. The new XT17sx4.5BMD lens features full remote control, for videoconferencing, weather cams, educational, and studio robotic applications.

Other NAB highlights include lenses in the Premier Series of high-performance ENG lenses for 2/3-inch cameras – the HA19x7.4, the HA14x4.5 super wide angle and the HA16x6.3 lenses. And the ZA Select Series lenses will be on display in telephoto, remote control, and with and without 2X extender versions.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture archival film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography,broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilmusa.com/northamerica, or go towww.twitter.com/fujifilmus to follow Fujifilm on Twitter. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2011, and in the year ended March 31, 2012, had global revenues of $27.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 79 yen to the dollar.

All product and company names herein may be trademarks of their registered owners.

FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site:www.FUJINON.com

Sonnet Technologies 2013 NAB Show Preview

2013 NAB Show Product Preview
Sonnet Technologies
Booth SL10924

Sonnet Technologies at the 2013 NAB Show:

At the 2013 NAB Show, Sonnet will demonstrate its industry-leading PCI Express(R) (PCIe(R)) expansion solutions and storage systems for video, audio, and broadcast professionals. In addition to its current lineup of innovative Thunderbolt(TM)-ready systems, Sonnet will introduce significant new products to accelerate workflows for all sizes and types of on-location and studio productions as well as in postproduction. more

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Jon Landau to Present Keynote at 2013 NAB Show’s Technology Summit on Cinema, Co-produced by SMPTE

Summit Will Offer Look at New Wave of Technology and Its Impact on Broader Cinema Ecosystem

WHITE PLAINS, N.Y. — Feb. 28, 2013 — The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that award-winning producer Jon Landau will present the keynote at the 2013 NAB Show’s “Technology Summit on Cinema: Advances in Image and Sound,” co-produced by SMPTE. Scheduled for April 6-7 at the Las Vegas Convention Center, South Hall Conference Room S222, the event will feature technology innovators, filmmakers, movie theater operators, manufacturers, and other experts sharing their diverse perspectives on image and sound for state-of-the-art cinema. more

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Qatar Radio Shifts All Five Channels Onto NETIA’s Radio-Assist(TM) 8.1 Automation Software

CLARET, France — Feb. 28, 2013 — NETIA today announced that national broadcaster Qatar Radio has taken all five of its main channels live on the Radio-Assist(TM) 8.1 digital audio software suite. The NETIA software, which Qatar Radio also uses as a robust disaster recovery solution, replaces an existing radio automation product and gives the broadcaster a more extensive and unified solution that addresses the entire production workflow. more

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DANLEY UPS THE SPLS ON ITS SH SERIES OF SYNERGY HORNS

GAINESVILLE, GEORGIA: Not content to rest on its laurels, Danley Sound Labs announces improvements to many of its already highly-regarded SH-Series full-range loudspeakers. The new versions are identified by the suffix “HO,” which stands for “high output.” For example, the if one wishes to get the most performance out of the Danley SH-96 they should order the Danley SH-96 HO. The new designs use a more powerful two-way high frequency. As a result, the low- and mid-frequency drivers can now be driven to their full potential while still maintaining Danley’s characteristic frequency response, phase response, and fidelity. In conjunction, the new designs use a new crossover and have additional options for bi-amping and for changing the low-frequency impedance. Because the cabinets themselves haven’t changed, the new versions retain the coverage and frequency loss patterns of the originals. The new models include the SH-95 HO, SH-96 HO, SH-64 HO

“The original versions can be easily modified to become the new ‘High Output’ versions,” explained Ivan Beaver, lead engineer at Danley Sound Labs. “It just takes the new high frequency driver, a new crossover, and a new switch panel.” In addition, the midrange drivers are also wired a little differently, which is incorporated as part of the new crossover wiring harness. “There are two options on the new switch panel,” said Beaver. “First, there’s a biamp/passive switch. In passive mode, the new cabinets run pretty much like the old versions, except that the mid/high section will be relatively louder than the woofers, assuming the woofers are running at 8ohms.”

He continued, “And that’s the second option. Users can select a woofer impedance of either 2ohms or 8ohms. Some people do not like to run at 2ohms, whereas others may need the additional output when using smaller amplifiers. The wire run should also be considered when choosing the impedance. With a 2ohm load there will be more loss across the wire. How much loss will depend on the size of the wire and the length of the run. An 8ohm load will have a higher damping factor than a 2ohm load, and it is of course easier to bridge an amp into an 8ohm load than into a 2ohm load.” In biamp mode, the mid/high section takes the crossover circuitry and the low section thus has no built-in crossover.

Because the new switch panel cannot be expected to operate reliably if left exposed to the elements, weatherized versions of the new High Output loudspeakers must be pre-ordered with specified biamping and impedance settings.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

NAB 2013: EditShare Unveils Major Upgrades Across Entire Line of End-to-End Tapeless Workflow Products

Highlights include new version of EditShare’s extreme-performing scalable storage; major new features for Flow media asset management; Geevs servers for multicam studio, sports and post; new features for Ark backup and archive, and Lightworks on Mac OX

Boston, MA — March 1, 2013 — EditShare®, the technology leader in shared media storage and end-to-end tapeless workflow solutions, is showcasing a host of upgrades for the company’s high-performance storage and end-to-end production and broadcast solutions at NAB 2013 (booth SL9010). Visitors to the booth will see the wide array of value-added features and new products shown in the context of studio, post and broadcast workflow scenarios. Among the enhancements are a new sleek, intuitive interface for EditShare 7; the just-released portable EditShare Field 2 for “on-the-go” collaborative editing, remote bureaus and ENG edit-while-capture capabilities; Air Flow, the new web browser-based application for accessing Flow media asset management over the Internet; new Flow Automation tools for workflow efficiency; Geevs Sports, a server and production package tailored for the unique needs of multi-channel, fast-paced sports coverage, and Geevs Post, the server that brings media management and collaboration to high volume post environments. Also debuting at NAB will be the long anticipated Mac OS X version of Lightworks, EditShare’s free, professional non-linear editor that also runs on Linux and Windows platforms.

“We’ve always been about high-performance storage, groundbreaking collaboration tools and streamlined workflows, and this year we offer more advances for just about every aspect of production,” says Andy Liebman, founder and president of EditShare. “The Geevs Studio MC, for example, has become the ‘go-to’ solution for soap opera production and episodic studio work. It features multichannel synched ingest of up to 16 or more cameras. All camera angles can be reviewed instantly and simultaneously — in synch. And because we capture tally signals from the video switcher/vision mixer, we can playback cut sequences without having to record the actual mixed feed. Plus, we then have multicam sequences you can drag and drop into Avid or FCP. It’s a huge time saver. By understanding what’s important to each workflow, we are creating similar timesaving solutions with Geevs Sports, Geevs Post, and the new Flow Automation, Air Flow and Ark products. We keep listening to our customers so we can help them meet their workflow challenges.”

About the EditShare Tapeless Workflow
EditShare seamlessly integrates high-performance shared storage solutions — (XStream and Energy) — with video ingest (Geevs and Flow), media asset management (Flow) and archive (Ark), to offer broadcast and post-production professionals a productivity-enhancing, tapeless workflow on a highly scalable infrastructure.

Highlights of the EditShare tapeless workflow

At the center of EditShare’s end-to-end workflow is high-performance shared storage that offers industry-leading stream counts, infinite scalability and advanced project sharing with patented bin and project-locking capabilities for Avid, Final Cut Pro (v6/v7), Adobe Premiere and Lightworks.

Flow and Geevs record Avid DNxHD or ProRes direct to EditShare shared central storage and produce proxy files in real time, with optional mirror copy and automatic backup to EditShare Ark. During ingest, users can log shots and create subclips.

The Flow MAM allows users to view proxy file content on their desktops without requiring access to full-resolution media, as well as ingest media from file-based sources such as P2 and XDCAM. Simple editing tools and metadata templates let users add information to clips, make rough cuts, and drag-and-drop clips and sequences into their NLEs.

Ark Disk and Tape offer facilities a tiered storage infrastructure with nearline and offline archiving options to keep media safe. All Ark systems can scale to multiple petabytes, and allow users to browse, delete, and restore archived materials (including partial restore) from any desktop on the EditShare network.
New for EditShare at NAB 2013

EditShare V7
• This latest release operates on the most performant and capable Linux OS ever
• EditShare Connect now sports a totally new and intuitive interface that provides much-requested features, such as “Project Profiles” (the ability to remember what spaces need to be mounted for different projects), a System Status indicator, and translation support for virtually any local language
• A new project sharing plug-in panel for Adobe Premiere CS7

EditShare Field 2
EditShare Field 2 is the all-new, quiet and portable powerhouse that includes Flow asset management, all in a box small enough to meet airline standards for carry-on luggage. It’s perfect for creating a collaborative, multi-editor environment in a hotel room, on a movie set or in a small news bureau. With the Flow SDI ingest option, users can record up to two channels of HD in leading codecs (XDCAM-EX35, DNxHD, DVCProHD, etc). The edit-while-capture capability lets you start editing the moment you begin recording — perfect for ENG applications when you want to be the first to get a story on the air. With an optional lightweight expansion unit, storage can scale up to 24 Terabytes.

New Connectivity Options
10GBaseT — economical 10-Gigabit connectivity over standard CAT 6 copper cables — is the latest wave in Ethernet technology. EditShare has multiple switch options including an EditShare-customized version of Arista’s ground-breaking 52-port 10-Gigabit switches. A user-friendly interface is designed into the switch with the simple management features you expect from EditShare products.

New Flow 3 with Air Flow and Flow Automation
In this new version, Air Flow and Flow Automation join the already popular Flow Browse, Flow Logger and Flow Ingest tools.

Air Flow is the new web browser-based connection to the powerful Flow asset management system. It allows users to access Flow over the Internet for remote browsing, tagging and organizing media assets.

Flow Automation provides new indispensable tools for setting up automated tasks such as transcoding and moving files based on easy-to-configure rules.

Other enhancements in Flow 3 include more powerful video editing and trimming; a new customizable user interface that gives users greater flexibility in arranging panes to maximize productivity; and support for non-video clips such as audio files, still images and documents.

Geevs Sports
Geevs Sports offers a complete broadcast solution for sports coverage that includes a video server with an integrated Multiviewer and an efficient tactile Controller. It’s a cost-effective, value-added package that is ideal for broadcasters, Outside Broadcast companies (OBs) and In-Stadium television producers. Toolsets for marking key game plays for highlight creation and playback with different angles are quick and easy to use.

Key Features of Geevs Sports:
• Four inputs and two outputs
• The agile and compact custom controller gives operators precise access to playlist functions with a minimum number of keystrokes.
• Integrated Multiviewer displays the different screen sources with clip names and time codes — all within a single screen.
• Tallies can also be added to sources so operators can easily identify clip usage elsewhere in the production.
• Add Mark-ins for events in the game. Build highlight lists for playback.
• Smooth, jitter-free replay of highlights and key plays with variable forward and reverse speeds; stop mode for still-frames
• With integration between Flow and Geevs Sports, assistants can organize and edit clip lists in Flow Browse and prepare them for playback.
• Capture directly to central storage, where NLE editors and Flow users have access to both high-res and proxy files while the recording is in progress.

Geevs Post
Geevs Post is a multipurpose ingest server for playout and file delivery in production and post-production environments.

Key Features of Geevs Post:
• Standard two inputs and two outputs in a new compact 2RU chassis
• Scalable by stacking multiple Post servers together for additional video I/O; can be ganged together for simultaneous recording of all channels from a single client
• Geevs Post has the same powerful wide range of codecs included in Geevs server products
• The integrated Multiviewer displays sources with clip name and time code — all within a single screen. A tally can also be added to each source to identify for the operator where sources are being used elsewhere.
• New Scheduler client. A new easy-to-use client to add scheduled calendar events for recording. Add events using the clutter-free interface. It’s easy to set up repeat recordings.
• Integrates with EditShare’s central storage and Flow.

Dense Ark Disc Unit
EditShare will also preview the new Dense Ark Disc Unit at NAB 2013. This cost-effective, compact unit stores up to 240 TBs of storage in a 4U space.

Lightworks 11.2
At NAB 2013, EditShare will be previewing the new Mac OS X version of Lightworks. In addition to the Windows and Linux versions, this makes Lightworks the first NLE to be truly cross platform across all major operating systems. It continues to attract a growing user base with 450,000 registered Windows users, and the floodgates are about to open for the Linux and Mac OS X communities. As always, Lightworks is available to users – for free – forever. More and more professional editors are returning to Lightworks to edit major commercial feature films and projects. A training certification program for Lightworks will also be introduced later this year.

New features in Lightworks 11.2 include:
• Added support for AJA I/O hardware
• Added support for screen capture using the record panel
• An improved import panel; now behaves similarly to bins, mark/park clips before import
• Native H.264 MOV playback
• Added Curve effect to FX Colour Correction effects

About EditShare
EditShare is the technology leader in networked shared storage and tapeless, end-to-end workflow solutions for the TV and film industry. Our groundbreaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management, and the world’s first 3-platform (Windows/OS X/Linux) professional non-linear video editing application.

©2013 EditShare LLC. All rights reserved. EditShare™ is a registered trademark of EditShare LLC. All other trademarks mentioned herein belong to their respective owners.

Press Contact
Janice Dolan
Zazil Media Group
Email: janice@zazilmediagroup.com
Tel: +1 (617) 817-6595

####

ASSIMILATE Presents SCRATCH v7 Finishing At 2013 Guadalajara International Film Festival (FICG)

ASSIMILATE To Award Sixth-Month SCRATCH v7 License To One Of The Top Finalists

Event: Festival Internacional de Cine en Guadalajara, Mexico
Dates: March 1 – 9, 2013

Location: The Hilton Guadalajara (Gran Turismo)
Av. De Las Rosas 2933, Rinconada del Bosque
44540 Guadalajara, Jalisco, México
Tel. (52) (33) 3678 0505

ASSIMILATE at FICG: ASSIMILATE’s mission is to empower all filmmakers, artists and post-production teams with end-to-end Digital Intermediate and Production Dailies tools to boost their creativity and productivity at prices that fit all budgets.

1. FREE SCRATCH for one lucky person!
At the end of the festival, ASSIMILATE will award one of the top six finalists in the features category, a six-month free SCRATCH license to be used on the post production of their film of choice.

2. See director Benjamin Avila’s “Infancia Clandestina”
Nominated in the features category – Post facility: Cinecolor, Argentina, www.cinecolor.com.ar
Color grading/finishing: Luisa Cavanagh with SCRATCH v7 Finishing
https://www.ficg.mx/28/index.php/en/lif-ficg/721-infancia-clandestina

3. Attend SCRATCH Demo for Finishing
Learn how SCRATCH can streamline your data workflow and boost your creativity and productivity!
Location: Hilton Guadalajara Auditorium
Date/Time: March 8 at 11:00 a.m.

About FICG
The Guadalajara International Film Festival (FICG) is the most important cinematographic event in Latin America. The quality and relevance of the film program; the celebrities and renowned filmmakers that stop-by; the professionals that pin-down projects; along with the public enjoying myriad cultural, educational and entertainment activities; have positioned the Festival as the premier event for Ibero-american cinema.

SCRATCH Digital Workflow Tools
ASSIMILATE’s SCRATCH provides a “post house in a box” – from dailies, to conform, color-grading, compositing, and through to finishing — and SCRATCH Lab, a robust dailies or VFX review digital pipeline, deliver the industry’s most comprehensive toolset for data-centric digital cinema and episodic television productions for 2D and 3D stereo projects. Both products support multiple formats, including ARRI RAW, Sony F65 and F5/55, Phantom, and Canon 5D, as well as enhanced support for RED ONE, RED ONE MX, SCARLET, and EPIC at all resolutions. All versions of SCRATCH and Lab software, running on Mac OS X and Windows, feature SDI and 3G output via AJA Kona 3G graphics cards, fast dailies rendering, and improved metadata and time-code handling. For the latest feature film and TV credits, pricing and sales, visit www.assimilateinc.com

Clay Paky’s New A.LEDA Series Fixtures Hit the “Dirt Road Diaries Tour” with Luke Bryan

Country singer Luke Bryan’s 20-city “Dirt Road Diaries Tour” may have a down-home name, but its lighting inventory includes some pretty cutting-edge equipment, including Clay Paky’s new A.LEDA Wash K10 and K5 LED moving heads provided by Elite Multimedia Productions.

The tour is using 12 K10 and 36 K5 fixtures as part of its “big, powerful rock ‘n roll rig,” says Lighting Designer Justin Kitchenman of FadeUp Design Group. He was introduced to the A.LEDA Series at LDI 2012 where he was “looking for the next generation LED moving light.” After seeing the A.LEDA fixtures, “We feel we found the best the industry has to offer,” he says.

The A.LEDA Series is the first professional Clay Paky product line to use LEDs as light sources. An alternative to discharge lamp wash lights, it offers all the benefits of LED technology: low energy consumption, long light-source life, small size, light weight and a robust build. The K10 is the mid-range model in the Series and the K5 the smallest. Both are fitted with multicolor RGBW LEDs that produce a full range of vivid colors as well as excellent shades of white. The K10 equipped with a motorized and fully-controllable 14º-70º beam angle. Each color of each LED may be controlled separately to produce an endless range of color variations and to use each LED of the array as a pixel to draw graphic images that change dynamically in shape and color. The lights come with a library of customizable pre-programmed graphic effects.

Kitchenman is deploying the K10s as floor fixtures on the corners of the thrust as well as around the center of the thrust, which serves as Bryan’s B stage. “The K10s work as a fantastic floor wash fixture,” he says. “When zoomed all the way out they provide great coverage, but they are also soft enough that it doesn’t hurt to have them shining directly in your eyes. This is important since the thrust is surrounded by the audience and the K10s are essentially at audience head height. They give us the ability to cross- wash the stage without blinding the people closest to the action.”

He also uses the fixtures in a narrow zoom to create powerful aerial beam patterns. “With their positions out in front of the stage it almost appears that beams are coming out of the crowd,” he notes.

The K5s occupy two positions. Four groups of four fixtures are mounted above the stage as part of the main lighting rig. “Their purpose is pretty basic: They act as fast-moving ACL-type beams. This placement also gives me another option to wash specific band positions during the show,” Kitchenman explains.

The second location is surrounding the side-hung IMAG screens. “We wanted to have the ability to expand our lighting looks as widely as possible. We were able to achieve this by modifying an already existing, but usually pretty bland, element of the show,” he points out. Kitchenman is flying two 24-foot long sections of 12-inch truss with the IMAG screens hung between them. “By adding 10 K5s to each side – four on the top truss and six on the bottom – we now have an element that adds plenty of eye candy and tons of audience light, gives us the width we desired and looks great on camera.”

Kitchenman admits that one of his biggest concerns with any type of LED fixture is its source. “I can’t stand seeing the ‘gum-ball dish’ look where you can see all the RGB LEDs at the source,” he says. “For the most part LEDs are faster, have nice beams and are energy and heat efficient – all of those things are a plus. But as soon as I look at a monitor and see the source I want to shut them off. It almost becomes a distraction at that point. But the A.LEDA fixtures don’t have that problem; they are a beautiful source. If you are outputting amber the source is amber not red and green.”

Perhaps the most important factor in selecting the A.LEDAs was the ability to pixel map the fixtures’ cells. “This allows us to not only use it as a moving light but also to incorporate it into the video content of the show,” he explains. “To be honest, this feature is new to us, and we are still working it into the show. But by having all the fixtures patched in extended mode we consider it a work in progress: As the show evolves we will be using the fixtures more and more to their fullest extent.”

Kitchenman is also a “big fan” of the fixtures’ color correction channel. “It enables me to closely match my color temps with the rest of the lighting rig so my LEDs don’t look so LEDish,” he says.

Tom Wilson, vice president of event productions at Elite, notes that Clay Paky’s new A.LEDA Series is viewed as an extension of the manufacturer’s offerings at “the high end of the business. We’ve had some experience with the Sharpys over the last year and have been thrilled with them. With Clay Paky it’s all about the quality of the build. The equipment is fully engineered and ready to go out of the box. We haven’t had any failures at all. As a company owner that’s a huge thing to me.”

The A.LEDAs on the tour are controlled by grandMA2 consoles. MDG the One digital fog/haze atmospheric generators and MDG Ice fog generators showcase A.LEDAs’ beams from the powerful lighting rig.

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, adds, “We’re very proud of the A.LEDA and pleased to have such a superior LED in the market. It sounds like Justin is really getting the most our of them.”

About Clay Paky
Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

For more information on Clay Paky products, please contact:
Francesco Romagnoli francesco@claypaky.it
Davide Barbetta webmaster@claypaky.it

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